CANNES Q&A: ALE­JAN­DRO CACETTA

Cannes Market News - - NEWS - PRES­I­DENT, INCAA

WHEN for­mer pro­ducer with the Patag­o­nik Film Group, Ale­jan­dro Cacetta, was named pres­i­dent of Ar­gentina’s Na­tional Film Board, Incaa, he faced five stated goals: broad­en­ing movie the­atre au­di­ences through in­no­va­tive pro­duc­tions, de­vel­op­ing multi-plat­form au­dio­vi­sual con­tent, ex­pe­dit­ing joined and pri­vate fi­nan­cial par­tic­i­pa­tion, fed­er­al­is­ing and pro­mot­ing re­gional pro­duc­tions through Incaa sub­si­dies, and tak­ing local pro­duc­tions to re­gional and global lev­els. We caught up with him to hear about his first five months in the post.

What have those five months been like? Have you man­aged to make any im­por­tant changes so far?

Af­ter my first five months, I can de­fine this pe­riod with a sim­ple word: in­tense. We have made im­por­tant changes, many of these are in­ter­nal but they are go­ing to be the ba­sis to sup­port the rest of the poli­cies for the in­dus­try, lo­cally and in­ter­na­tion­ally. We have in­tro­duced im­por­tant con­cepts, plan­ning and ob­jec­tives for each area – these are the most sig­nif­i­cant changes.

Of your five main stated goals, which are you most con­fi­dent about achiev­ing the most quickly?

Each ob­jec­tive needs a dif­fer­ent time pe­riod to be de­vel­oped, tested and con­sol­i­dated. I am con­fi­dent and en­thu­si­as­tic in achiev­ing all the ob­jec­tives. I think ob­jec­tive that will take the long­est to achieve – and which should ex­ceed the time of my man­age­ment –, is the gen­er­a­tion of au­di­ences for our pro­duc­tions. For ob­vi­ous rea­sons, it is a pro­gramme we have al­ready launched and it takes time to see re­sults. I re­ally hope it can be con­tin­ued and im­proved by fu­ture ad­min­is­tra­tions. The rest of the goals are go­ing to be achieved more or less at the same time – be­tween this year and the next.

You hold a num­ber of key roles in Ar­gentina’s film in­dus­try. What are the key strengths of the in­dus­try in Ar­gentina? What are its key weak­nesses, from your stand­point?

I think we have sev­eral strengths in our in­dus­try to­day. We have the ex­pe­ri­ence to de­velop a project, from the artis­tic, pro­duc­tion and fi­nan­cial points of view. We also have the tal­ent and ex­pe­ri­ence to cre­ate pro­duc­tions of qual­ity – whether for our­selves or for third par­ties. But we have to work hard to grow and con­sol­i­date our in­ter­nal mar­ket, as achiev­ing that will mean our movies can reach wider au­di­ences.

The Incaa role pre­cludes you from pro­duc­ing. Do you miss that?

Yes that´s right, but I don´t have time to think about my pre­vi­ous role. I am com­pletely im­mersed in my new re­spon­si­bil­i­ties. There is Ar­gen­tine in­volve­ment in five films in of­fi­cial se­lec­tion in Cannes this year. No­tably Francisco Sanc­tis’s Long Night and Malena Vain’s short film Busi­ness. It’s good news for the coun­try. Yes of course, this is a very good rep­re­sen­ta­tion of our in­dus­try. I am very happy that pro­duc­tions made by very young peo­ple can par­tic­i­pate in Cannes. Some of them came from En­erc, the school of cin­e­matog­ra­phy of Incaa, which is some­thing else to be proud of.

What are your plans for Cannes this year?

One plan is to meet with other au­thor­i­ties from around the world, to es­tab­lish the build­ing blocks for fu­ture col­lab­o­ra­tion be­tween our in­dus­tries. An­other plan is to present an ed­u­ca­tional pro­gramme that is be­ing launched in Ar­gentina this month, based on an agree­ment signed with the In­sti­tut Français last Fe­bru­ary. And fi­nally, I hope to sign a num­ber of dif­fer­ent agree­ments for bi­lat­eral col­lab­o­ra­tion in co-pro­duc­tion.

What are your im­me­di­ate post-cannes plans?

Once I’m back in Ar­gentina, among many projects, the most ur­gent ob­jec­tive is to con­tinue work­ing on a new sub­sidy scheme for our pro­duc­tions. I also want to com­plete quickly the anal­y­sis of how we can in­crease the num­ber of screens on which to show our films.

Ju­lian Newby

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